FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Esta dissertaÃÃo à uma proposta de prÃtica caminhante como metodologia do criar. Em vÃrios nÃveis relacionais, cidade|rua, corpo, casa|quarto, sÃo espaÃos em mutaÃÃo que aderem criativamente entre si, gerando faÃscas narrativas e novos modos de habitÃ-los. Um processo caminhante, em que o artista-pesquisador, a partir do caminhar|performance, percorre a cidade propondo intervenÃÃes, apropriaÃÃes, refletindo sobre o prÃprio processo do fazer|criar artÃstico. Fortaleza, a cidade em questÃo, à aprofundada nos resquÃcios que sua dilataÃÃo urbana fez questÃo de esquecer. Detalhes menores, mas substancialmente potentes, que sustentam a cidade ao mesmo tempo em que sobrevivem a ela, em mais um, entre os tantos paradoxos modernistas. Com os pÃs, gero com a rua uma justaposiÃÃo performÃtica de novos saberes. Alquimia caminhante: retorno a uma prÃtica elementar, que pressupÃe outro estado de relaÃÃo com o ambiente. RelaÃÃo esta que impulsiona capacidades de criaÃÃo que ascendam a novos modos de vida. A paisagem, por fim, à a marca intensiva deste processo, o meio pelo qual ele aparecerà ao outro, esta terceira parte que vem. A caminhada converge em outras prÃticas experimentais (coleta, escrita, plantio) e desÃgua na elaboraÃÃo de paisagens nÃmades: corpo de elementos menores acionados por seu prÃprio estado de desaparecimento. / This dissertation is a propose of practice walker as metodology of creation. In several relational levels, city|street, body, home|room, are spaces on stage of mutation that adhere criatively each other, generating narrative sparks and new forms inhabit it. A walker process, on what the artist|researcher, from the walk|performance, cross the city propond interventions, apropriations and refleting about the owner process to artistic make|create. Fortaleza, the city on the question, is deph the remants that your urban dilatation made question to forgot. Small details, but substancially powerful, that sutented the city, at the same time in surviver to her, in on more, modern paradoxes. With the foot, i create with street a performative overlap of new knowledges. Walker alchemy: return to the elementar practice, which pressuposes another state with relation with the enviroment. Relation it which drives capacities of creation rise a new ways of life. The landscap, ultimely, is the intensive mark, the mode that apears to the other, this third part who comes. The walk converge in another experimental practices (colect, write, plant) and arrive on elaboration of nomads landsacpes: elemental minors body operated for your own desapearing state.

À travers la thèse Vu(es) de dos : la photographie comme espace d'identité et de création, je questionne ma pratique photographique suivant la phénoménologie du regard, tout en faisant face à une obsession, celle de vouloir voir mon propre dos et celui des autres. En partant de mon corps comme source d'expérimentation, j'exprime ce besoin d'exister autrement, à travers cette part qui semble invisible à mon regard. C'est cette quête de reconnaissance qui me pousse à mettre en place des protocoles artistiques afin de me confronter à l'autre de dos. En me déplaçant dans l'espace et en allant à la rencontre de l'inconnu, je commence à créer des espaces de réflexion. Le dos devient alors le sujet photographié et observé, ce point de départ de ma recherche théorique et esthétique, tout comme la base du rapport que j'établis avec le monde de l'art et les autres. En tant qu'interface, la vue de dos semble donner sur un lieu ou une territorialité anthropologique et artistique, qui suggère une autre manière d'être, de voir et de penser le monde. / Through the thesis Back view(s) : photography as identity and creation space, I question my photographic practice through the phenomenology of the gaze, while facing an obsession, the desire to see my own back and the back of the others. Starting from my own body as a source of experimentation, I express the need to exist in a different way through this part of my body that remains invisible to my own gaze. This search for recognition leads me towards developing artistic protocols, to face the other from the back. While I am traveling through space and meeting the unknown, I create different spaces of reflection. The back becomes the subject being photographed and observed, the starting point of my theoretical and aesthetic research, as well as the foundation that I build with the world of art and the others. As an interface, the view of the back seems to provide a look onto an anthropological and artistic place or territoriality, suggesting another way of being, seeing and thinking the world.